| Fernando Sor: Classical Guitar Of Fernando Sor Guitar notes and tablatures Classical guitar [Sheet music] - Intermediate Creative Concepts
Composed by Fernando Sor (1778-1839), arranged by Joseph Harris. For guitar. For...(+)
Composed by Fernando Sor (1778-1839), arranged by Joseph Harris. For guitar. Format: guitar solo book. With standard guitar notation, guitar tablature, historical notes, performance notes and biographical notes (arranger). Classical period. 104 pages. 9x12 inches.
(3)$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Classical Music For Children: 58 Easy Pieces For Guitar Edition With Cd Guitar [Sheet music + CD] - Easy Schott
Guitar - easy SKU: HL.49019327 58 Easy Pieces for Guitar. Arranged...(+)
Guitar - easy SKU: HL.49019327 58 Easy Pieces for Guitar. Arranged by Martin Hegel. This edition: Saddle stitching. Sheet music with CD. Guitar. Dieses Heft enthalt alles, was man fur den Gitarrenunterricht braucht: 58 leichte originale Gitarrenstucke von Aguado, Mertz, Diabelli, Carulli, Sor oder Carcassi, aber auch leicht spielbare Bearbeitungen der klassischen Musik aus den Bereichen Orchesterm. Softcover with CD. 46 pages. Schott Music #ED21305. Published by Schott Music (HL.49019327). ISBN 9783795747558. UPC: 841886018204. 9.0x12.0x0.2 inches. This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music. All pieces are recorded on the accompanying CD to make it easier for the pupils to study and master the works. $22.99 - See more - Buy online | | |
| My First Concert: 44 Easy Guitar Pieces from 5 Centuries Guitar - Beginner Schott
Guitar - very easy to easy SKU: HL.49044752 Mein erstes Konzart: 44 le...(+)
Guitar - very easy to easy SKU: HL.49044752 Mein erstes Konzart: 44 leichte Gitarrenstucke aus 5 Jahrhunderten. Edited by Bruno Szordikowski and Peter Ansorge. This edition: Saddle stitching. Sheet music. Guitar. Die Auswahl der uberwiegend originalen Werke ist nach Epochen gegliedert und bietet so auch ein kleines Panorama der Geschichte der Gitarren- und Lautenmusik von John Dowland uber Gaspar Sanz bis zu Leo Brouwer. Children, Classical, German Edition. Softcover. 32 pages. Schott Music #ED 22050. Published by Schott Music (HL.49044752). ISBN 9783795749576. UPC: 841886023826. 9.0x12.0x0.14 inches. Giving your first concert is a special occasion for any young musician, motivating players to keep working at their instrument and music making. Making this a positive experience involves choosing pieces that are technically and musically manageable, so we have chosen 44 easy and well-known solo pieces, all tried and tested in lessons and youth music competitions. This selection of works mainly written for the guitar is arranged in periods of composition, providing a little window on the history of guitar and lute music. TEXT IN GERMAN AND ENGLISH. $17.99 - See more - Buy online | | |
| My First Concert: 44 Easy Guitar Pieces From 5 Centuries, Edition With Cd Guitar [Sheet music + CD] - Beginner Schott
44 Easy Guitar Pieces from 5 Centuries. Edited by Peter Ansorge and Bruno Szordi...(+)
44 Easy Guitar Pieces from 5 Centuries. Edited by Peter Ansorge and Bruno Szordikowski. This edition: Saddle stitching. Sheet music with CD. Guitar. Die Auswahl der uberwiegend originalen Werke ist nach Epochen gegliedert und bietet so auch ein kleines Panorama der Geschichte der Gitarren- und Lautenmusik von John Dowland uber Gaspar Sanz bis zu Leo Brouwer. Edition with CD. 32 pages. Schott Music #ED 20601. Published by Schott Music
$23.99 $19.192 (20% off) See more - Buy online | | |
| Beginning Pieces for Classical Guitar Guitar Classical guitar - Easy Mel Bay
Composed by Lily Afshar. Squareback saddle stitch. Classic. Book. 80 pages. Me...(+)
Composed by Lily Afshar.
Squareback saddle stitch.
Classic. Book. 80 pages. Mel
Bay Publications, Inc #30831.
Published by Mel Bay
Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Classics for the Developing Pianist, Study Guide, Book 2 Piano solo - Intermediate Alfred Publishing
Study Guide for Preparation, Practice and Performance. Composed by Ingrid Ja...(+)
Study Guide for Preparation,
Practice and Performance.
Composed by Ingrid Jacobson
Clarfield and Phyllis Alpert
Lehrer. Book; Graded
Standard Repertoire;
Masterworks; Piano
Collection. Classics for the
Developing Pianist.
Masterwork. 56 pages.
Published by Alfred Music
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| Intermediate Pieces for Classical Guitar Guitar Classical guitar - Intermediate Mel Bay
Composed by Lily Afshar. Squareback saddle stitch. Classical. Book. 116 pages....(+)
Composed by Lily Afshar.
Squareback saddle stitch.
Classical. Book. 116 pages.
Mel Bay Publications, Inc
#30832. Published by Mel Bay
Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| First Book for the Guitar - Complete Guitar Schirmer
Guitar Technique. By Frederick Noad. Guitar Method. Size 9x12 inches. 200 pages....(+)
Guitar Technique. By Frederick Noad. Guitar Method. Size 9x12 inches. 200 pages. Published by G. Schirmer, Inc.
$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Classical Guitar Guitar Classical guitar [Sheet music + CD] Music Sales
By Frederick Noad. For Guitar. Classical. Sheet Music and Audio CD. 144 pages. P...(+)
By Frederick Noad. For Guitar. Classical. Sheet Music and Audio CD. 144 pages. Published by Music Sales.
(1)$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| First Book for the Guitar - Part 3 Guitar Schirmer
Guitar Technique. By Frederick Noad. Guitar Collection. Size 9x12 inches. 57 pag...(+)
Guitar Technique. By Frederick Noad. Guitar Collection. Size 9x12 inches. 57 pages. Published by G. Schirmer, Inc.
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Lord my God, my heart and soul were sore distrest Pocket, Study conductor [Study Score / Miniature] Barenreiter
(Cantata for the 3rd Sunday after Trinity). By Johann Sebastian Bach (1685-1750)...(+)
(Cantata for the 3rd Sunday after Trinity). By Johann Sebastian Bach (1685-1750). Edited by Paul Brainard. For Soprano Solo, Alto Solo, Tenor Solo, Bass Solo, Mixed Choir-SATB, Oboe, Bassoon, Trumpet (3), Trombone (4), Kettledrum, Violin (2), Viola, Basso Continuo. Baerenreiter Studienpartituren - Study scores. Study Score; Urtext Edition (paperbound). BWV 21
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| The Classical Guitar Collection Guitar notes and tablatures Classical guitar Creative Concepts
50 Favorites by 26 Composers. Arranged by Joseph Harris. Creative Concepts Publi...(+)
50 Favorites by 26 Composers. Arranged by Joseph Harris. Creative Concepts Publishing. Guitar tablature. 168 pages. Published by Creative Concepts.
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| All Masses and Vespers as Study scores Concert band, Choral [Score] Carus Verlag
Composed by Robert D. Levin / Wolfgang Amadeus Mozart. Stuttgart Urtext Edition....(+)
Composed by Robert D. Levin / Wolfgang Amadeus Mozart. Stuttgart Urtext Edition. German title: Messen (18), Requiem, 2 Vespern /Schuber. Latin Masses, Missa brevis in Latin, Requiem. Set with study scores. Published by Carus Verlag
$172.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sorge vermiglia in ciel la bella Aurora RV667 Pocket, Study conductor Ricordi
Critical Edition Score and Parts. By Antonio Vivaldi. Study Score. 38 pages. Pub...(+)
Critical Edition Score and Parts. By Antonio Vivaldi. Study Score. 38 pages. Published by Ricordi.
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| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Composed by Wolfgang Amadeus Mozart. Arranged by Robert Stallman. Sws. 56+16+16+16+16+12 pages. Carl Fischer Music #MXE219. Published by Carl Fischer Music (CF.MXE219). ISBN 9781491157794. UPC: 680160916399. 9 x 12 inches. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about HoffmeisterAs awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterA3despite scruples about treading on hallowed groundA3I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak MozartAs language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialA3MozartAs friend Hoffmeister had regrettably attempted such A!improvementsA(r)A3I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were MozartAs A!blueprintsA(r) of imagined chamber works. Hence my task was to A!flesh outA(r) the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composerAs dialect, various apt solutions presented themselves. The search for the A!rightA(r) one then became a most absorbing study. On the eve of releasing my BognerAs CafA recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888A+-1959), author of Mozart (1935), had taken note of the four-hand piano works as A!a kind of keyboard chamber music.A(r) Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: A!The F major Sonata (K. 497) removes us to another worldA3the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.A(r) That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called A!the crowning work of its kindA(r) by Alfred Einstein, the Sonata is laden with examples of MozartAs mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltoA3an F-major tune as sunny and confident as an aria from Figaro itself. This movementAs declamatory A!opera chorusA(r) persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The A!love duetA(r) between flute and first viola seems to anticipate the impassioned A!duettingA(r) between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the AndanteAs middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8a time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the A!Swiss clockA(r) section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my A!newA(r) Mozart Quintet endeavorsA3and most of all, to violist Katherine Murdock for that dare in 1990. A3Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeisteris awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterodespite scruples about treading on hallowed groundoI grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozartis language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialoMozartis friend Hoffmeister had regrettably attempted such iimprovementsioI always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozartis iblueprintsi of imagined chamber works. Hence my task was to iflesh outi the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composeris dialect, various apt solutions presented themselves. The search for the irighti one then became a most absorbing study. On the eve of releasing my Bogneris CafE recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888n1959), author of Mozart (1935), had taken note of the four-hand piano works as ia kind of keyboard chamber music.i Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: iThe F major Sonata (K. 497) removes us to another worldothe world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.i That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called ithe crowning work of its kindi by Alfred Einstein, the Sonata is laden with examples of Mozartis mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltooan F-major tune as sunny and confident as an aria from Figaro itself. This movementis declamatory iopera chorusi persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The ilove dueti between flute and first viola seems to anticipate the impassioned iduettingi between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andanteis middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8+time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the iSwiss clocki section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my inewi Mozart Quintet endeavorsoand most of all, to violist Katherine Murdock for that dare in 1990. oCompiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister's awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter--despite scruples about treading on hallowed ground--I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart's language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic material--Mozart's friend Hoffmeister had regrettably attempted such improvements--I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart's blueprints of imagined chamber works. Hence my task was to flesh out the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer's dialect, various apt solutions presented themselves. The search for the right one then became a most absorbing study. On the eve of releasing my Bogner's Cafe recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888-1959), author of Mozart (1935), had taken note of the four-hand piano works as a kind of keyboard chamber music. Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: The F major Sonata (K. 497) removes us to another world--the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music. That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinu Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called the crowning work of its kind by Alfred Einstein, the Sonata is laden with examples of Mozart's mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto--an F-major tune as sunny and confident as an aria from Figaro itself. This movement's declamatory opera chorus persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E<= Major, K. 495, written only five weeks before. The love duet between flute and first viola seems to anticipate the impassioned duetting between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante's middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the Swiss clock section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martinu Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my new Mozart Quintet endeavors--and most of all, to violist Katherine Murdock for that dare in 1990. --Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. PrefaceIn 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister’s awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter—despite scruples about treading on hallowed ground—I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart’s language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings.With zero tolerance for alteration of melodic or harmonic material—Mozart’s friend Hoffmeister had regrettably attempted such “improvementsâ€â€”I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart’s “blueprints†of imagined chamber works. Hence my task was to “flesh out†the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer’s dialect, various apt solutions presented themselves. The search for the “right†one then became a most absorbing study.On the eve of releasing my Bogner’s Café recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888–1959), author of Mozart (1935), had taken note of the four-hand piano works as “a kind of keyboard chamber music.†Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: “The F major Sonata (K. 497) removes us to another world—the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.†That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet.Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinů Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called “the crowning work of its kind†by Alfred Einstein, the Sonata is laden with examples of Mozart’s mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue.The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto—an F-major tune as sunny and confident as an aria from Figaro itself. This movement’s declamatory “opera chorus†persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro.The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E≤ Major, K. 495, written only five weeks before. The “love duet†between flute and first viola seems to anticipate the impassioned “duetting†between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante’s middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement.In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the “Swiss clock†section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability.I am most grateful to the adventuresome Martinů Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my “new†Mozart Quintet endeavors—and most of all, to violist Katherine Murdock for that dare in 1990.—Compiled from the writings of Robert Stallmanby Hannah Woods Stallman,February 2, 2020. $42.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| GUITAR PICKING TUNES - CLASSICAL GEMS Guitar notes and tablatures [Sheet music + Audio access] Mel Bay
Saddle-stitched. Tunes. Book and online audio. Mel Bay Publications, Inc #30...(+)
Saddle-stitched. Tunes. Book
and online audio. Mel Bay
Publications, Inc #30872M.
Published by Mel Bay
Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Study No. 5 Guitar - Easy FLEX Editions
Guitar - Grade 2 SKU: FL.FX071736 Composed by Fernando Sor. Edited by Did...(+)
Guitar - Grade 2 SKU: FL.FX071736 Composed by Fernando Sor. Edited by Didier Coll. The Must-Haves for Guitar. Classical, Educational. Guitar Part. FLEX Editions #FX071736. Published by FLEX Editions (FL.FX071736). A must-have for solo Guitar. This celebrated study by Fernando Sor should be played with strict attention to the rhythm. Concentrate on bringing out the melody (notes with the tails up) and plucking the accompaniment.
This series proposes the very best of classical pieces for guitar, revised by great teachers and concertists, at reduced price. $6.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Right-Hand Studies for Five Fingers Guitar [Sheet music] - Intermediate Mel Bay
by Charles Postlewate. For Guitar (Classic). technique. Classic. Level: Intermed...(+)
by Charles Postlewate. For Guitar (Classic). technique. Classic. Level: Intermediate. Book. Size 8.75x11.75. 56 pages. Published by Mel Bay Publications, Inc.
(1)$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sor, Fernando: Selected Studies Arranged for Electric Bass Bass guitar - Easy Mel Bay
Saddle-stitched. Solos/Duets. Book. 56 pages. Mel Bay Publications, Inc #310...(+)
Saddle-stitched. Solos/Duets.
Book. 56 pages. Mel Bay
Publications, Inc #31027.
Published by Mel Bay
Publications, Inc
$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Classical Guitar of Spain Guitar notes and tablatures Classical guitar - Intermediate Creative Concepts
Arranged by Joseph Harris. Creative Concepts Publishing. With notes and tablatur...(+)
Arranged by Joseph Harris. Creative Concepts Publishing. With notes and tablature. Size 9x12 inches. 80 pages. Published by Creative Concepts
(1)$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Tresor Suppose Ouverture Orchestra Heugel
Orchestra SKU: BT.ALHE31779 Composed by Etienne-Nicolas Mehul. Classical....(+)
Orchestra SKU: BT.ALHE31779 Composed by Etienne-Nicolas Mehul. Classical. Study Score. 24 pages. Heugel & Cie #ALHE31779. Published by Heugel & Cie (BT.ALHE31779). French. Etienne Nicolas Méhul: Ouverture de 'Le Trésor supposé' (PH277) (Orchestra). $12.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Concerto For Orchestra Study Score Orchestra Schott
Orchestra SKU: HL.49019910 Composed by John Casken. This edition: Saddle ...(+)
Orchestra SKU: HL.49019910 Composed by John Casken. This edition: Saddle stitching. Sheet music. Study Score. Softcover. Composed 2007. 76 pages. Duration 20'. Schott Music #ED13617. Published by Schott Music (HL.49019910). ISBN 9790220134395. UPC: 888680089528. 8.25x11.75x0.25 inches. My Concerto for Orchestra (2007) is a twenty-minute work in which different sections of the orchestra, as well as individual solos and duos from within the orchestra, are highlighted as the music unfolds. The work continues my interest in two-movement forms that began with my Cello Concerto (1991), and was later developed in Sortilege (1996) and Symphony (Broken Consort) (2004). In these works, and in the Concerto for Orchestra, each movement is given equal weight and importance with the second developing earlier material and taking it in new directions.The two-movement form of the Concerto for Orchestra derives from a symphonic sonata structure, reshaping the traditional four-movement form and combining this with aspects of sonata form, a tradition that goes back to Liszt, Schoenberg and Sibelius:1st movement (i) exposition of ideas - dramatic and sudden (ii) scherzo and development 1 - resolute2nd movement (iii) adagio - calm and unhurried (iv) development 2 with recapitulation - intense and energeticThe Concerto for Orchestra was commissioned by the Musikalische Akademie des Nationaltheatre-Orchesters Mannheim with the support of Die Landesbank Baden-Wurttemberg for its first two performances on 31st March and 1st April 2008 conducted by Friedemann Layer. The score is dedicated in friendship and admiration to Ronald Zollman.John Casken
3(3.pic).2.ca.2(2.Ebcl).bcl.3(3.cbsn)-4.3(1.Dtpt).2.btbn.1-timp.3perc(crot, vib, tub bells, sizz cym, Chinese cym, h.h, Swiss cow-bell, gong, horizontal gong, 2tam-t, tamb, bng, s.d, 5tom-t, b.d, clav, casts, marac, 5tempbl, wdbl, cabaca, vibraslap)-hp-str. $49.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Athenais Paulian : Airs et variations chantes par Madame Catalani Guitar Classical guitar [Score] Editions Orphee
Composed by Athenais Paulian. For guitar unaccompanied. The Guitarist'...(+)
Composed by Athenais
Paulian. For guitar
unaccompanied. The
Guitarist's Repertoire,
Vol.11. Full Score - Study.
Standard Notation. Op.1. 16
pages. Editions Orphee #494-
02969. Published by Editions
Orphee
$11.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Complete Sor Studies for Guitar Guitar Classical guitar [Sheet music] - Intermediate Mel Bay
By David Grimes. For Guitar (Classical). Solos. Editiones Classicae. Classic. Le...(+)
By David Grimes. For Guitar (Classical). Solos. Editiones Classicae. Classic. Level: Multiple Levels. Book. Size 9x11.75. 160 pages. Published by Mel Bay Publications, Inc.
(2)$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mel Bay Modern Guitar Method - Grade 4 Guitar - Intermediate Mel Bay
Guitar - Intermediate SKU: MB.93203 Saddle-stitched, Classical, Jazz, Con...(+)
Guitar - Intermediate SKU: MB.93203 Saddle-stitched, Classical, Jazz, Contemporary, Rock, Method, Christian. Modern Guitar Method. Learn To Play. Instructional book. With instructional text, standard guitar notation, chord names and fingerings. 48 pages. Mel Bay Publications, Inc #93203. Published by Mel Bay Publications, Inc (MB.93203). ISBN 9780871663634. UPC: 796279000222. 8.75x11.75 inches. Now clearly at the intermediate level, Grade 4 begins by introducing the E major scale in three octaves plus the principal chords in E major. The C# harmonic and melodic minor scales are introduced followed by a wealth of carefully arranged solo and duet study material in various keys in the fourth, fifth, seventh, and ninth position. Three basic shapes for major and minor chords are reviewed through chord studies in various keys through the seventh position. Theory lessons address identification of intervals, the dominant seventh chord, and modulation. Written in standard notation only. $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Brian Dalby: Dancer Eduardova (Study Score) Music Sales
Chamber Ensemble SKU: HL.14008223 Composed by Martin Dalby. Music Sales A...(+)
Chamber Ensemble SKU: HL.14008223 Composed by Martin Dalby. Music Sales America. Classical. Studyscore. Music Sales #NOV890112. Published by Music Sales (HL.14008223). Commissioned by the St Magnus Festival with funds from the Scottish Arts Council. First performed by The Fires of London in June 1978 in St Magnus Cathedral, Kirkwall. The work takes as its starting-point a sequence of dreams related by Franz Kafka in his diaries of 1910. Eduardova was a Russian ballerina whom Kafka had seen dancing in Prague in the early part of this century. The music of The Dancer Eduardova is based on dancing, particularly the csardas which in his dream Kafka had asked the dancer to perform just one time more. Kafka's dream-sequences contain the uncomfortable contrasts of the grace of the dancer and the loathsome gestures of unconscious intriguers; there are abrupt changes of mood to sorrow and despair. Flowers presented by all the Princes of Europe appear in the dreams, as do trains and trams on which Eduardova travels with two vigorous violinists. $14.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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